NEW YORK CITY CENTER EDUCATION - INSIDE ENCORES! Your personal guide to the performance.
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NEW YORK CITY CENTER
EDUCATION
INSIDE ENCORES!
Your personal guide to
the performance.
MAY 2019
TABLE OF CONTENTS
CONTEXT
Meet the Creators & Artists, p. 4-5
An Interview with Allen Moyer, p. 6-7
From Hollywood to Broadway:
Styne & Cahn’s High Button Shoes, p. 8-10
RESOURCES & ACTIVITIES
Intermission Activity, p. 12
Before the Show, p. 13
After the Show, p. 14
Glossary p. 15
Up Next for City Center Education, p. 16
CONTEXT
MEET THE CREATIVE TEAM
Lyrics • Book • Music
SAMMY CAHN (1913–1993) was an American composer and lyricist. His best-known songs were
recorded by Frank Sinatra, Dean Martin, Doris Day, and many others. Among his most popular
numbers is “Let It Snow! Let It Snow! Let It Snow!,” co-written with Jule Styne in 1945. He played
the piano and violin. Over the course of his career, he was nominated for 31 Academy Awards, five
Golden Globe Awards, and an Emmy Award. He also received a Grammy Award nomination, with
Van Heusen, for Best Original Score Written for a Motion Picture or Television Show for the film
Robin and the 7 Hoods. He has won the Christopher Award, the Outer Critics Circle Award, and
the Theatre World Award (for Best Newcomer to Broadway). In 1988, the Sammy Film Music
Awards (the “Sammys”), an annual award for movie songs and scores, were started in his honor.
STEPHEN LONGSTREET (1907-2002) was an artist, screenwriter, and author of
more than 100 works of fiction and non-fiction. An artist by training, Longstreet started
writing during the Great Depression in order to make a living, creating radio scripts,
film reviews, and detective novels. During the 1940s, under contract at Warner Bros.,
Longstreet penned The Jolson Story and Stallion Road. His novel The Sisters Liked Them
Handsome served as the basis for the Broadway musical High Button Shoes. A number of
Longstreet’s works deal with the emergence of jazz music, and Longstreet’s depictions of
jazz-age figures such as Count Basie, Sarah Vaughan, Billie Holiday, and Duke Ellington
have been exhibited in museums and galleries throughout the world.
JULE STYNE (1905-1994) made Broadway sing for 50 years with shows
including High Button Shoes; Gentlemen Prefer Blondes; Hazel Flagg; Gypsy;
Peter Pan; Bells are Ringing; Do Re Mi; Subways are for Sleeping; Funny Girl;
Fade Out-Fade In; Hallelujah, Baby!; The Red Shoes; and Darling of the Day. His
film work includes Anchors Aweigh and the Oscar-winning title song of “Three
Coins in the Fountain.” His songbook includes, “I Don’t Want to Walk With-
out You,” “Just in Time,” “People,” “Guess I’ll Hang My Tears Out To Dry,”
“Everything’s Coming Up Roses,” “I Fall in Love Too Easily,” “Make Someone
Happy,” “Small World,” and “Time After Time.” Mr. Styne was a 1990 Kenne-
dy Center Honoree and was the recipient of an Oscar, a Tony, two Grammys,
an Emmy, a Donaldson Award, and a Drama Critics Award. The following lyr-
icists collaborated with Mr. Styne: Frank Loesser, Sammy Cahn, Leo Rob-
in, E.Y. Harburg, Stephen Sondheim, Susan Birkenhead, Betty Comden and
Adolph Green, and Bob Merrill. Mr. Styne served on the Dramatists Guild
Council and was a member of the ASCAP for more than 50 years.
Director
JOHN RANDO Broadway: Gettin’ the Band Back Together, On the Town (Tony
Nomination), Penn & Teller on Broadway, A Christmas Story, The Wedding Sing-
er, Urinetown (Tony and Outer Critics Circle Awards), A Thousand Clowns and
Neil Simon’s The Dinner Party. Off-Broadway: Jerry Springer – The Opera (New
Group), Lives of the Saints (Primary Stages), The Heir Apparent (SDCF Callo-
way Award – Classic Stage Company), All in the Timing (Primary Stages – Obie
Award), Carousel (New York Philharmonic) and The Toxic Avenger, among many
others. Regional: The Sting and The Honeymooners (Paper Mill Playhouse), The
Royal Family of Broadway, On the Town, and Pirates of Penzance (Barrington
Stage). City Center Encores!: The New Yorkers, Annie Get Your Gun, Little Me,
It’s a Bird... It’s a Plane... It’s Superman, Gentlemen Prefer Blondes, Face The Music,
Damn Yankees, and others.
CITY CENTER EDUCATION | CONTEXT | 4
CAST SPOTLIGHT
KEVIN CHAMBERLIN (Mr. Pontdue) has been nominated for three Tony® Awards, originating the roles
of Horton in Seussical, Charlie in Dirty Blonde and Uncle Fester in The Addams Family. Other Broadway cred-
its include Wicked, Disaster, The Ritz, Chicago, Triumph of Love, My Favorite Year and Abe Lincoln in Illinois. LA
theater credits include the Hollywood Bowl productions of Hair, West Side Story, and Spamalot. Film: Die Hard
with A Vengeance, Road to Perdition, Taking Woodstock, In and Out, Christmas with the Kranks TV: Modern Family,
Heroes, Frasier, Grace and Frankie, and as Bertram on Disney Channel’s long-running hit show, Jessie.
CARLA DUREN (Fran) Broadway: Hairspray, 110 in the Shade. Off-Broadway: Chick Flick, Fortress of Sol
itude (The Public), Brooklynite (Vineyard). Regional Theater: Marginal Loss (Humana Festival); The Bluest Eye
(Guthrie); It Shoulda Been You (George Street Playhouse); Ruined (Berkeley Rep, LaJolla & Huntington);
Amélie (Berkeley Rep); Parable of the Sower, Robert Wilson’s Zinnias: The Life of Clementine Hunter. Film:
Knucklehead, Maid in Manhattan, Dave Chappelle’s Block Party. TV: Bull, Gotham, The Jim Gaffigan Show, Mys-
teries of Laura. Album: BlackFolkRockStar
CHESTER GREGORY (Papa Longstreet) This versatile actor is excited to make his Encores! debut. Broad-
way credits include: Motown the Musical (Berry Gordy), Hairspray (Seaweed), Sister Act (Eddie), Tarzan
(Terk), and Cry-Baby (Dupree). National tour: Motown (Berry Gordy), Sister Act (Eddie), Dreamgirls (James
“Thunder” Early), and the title role in The Jackie Wilson Story. Regional: August Wilson’s Fences and Two Trains
Running. Television: Crazy Ex-Girlfriend, The Daily Show, The View, and The Tony Awards. Chester is the recip-
ient of numerous accolades including Chicago’s Jeff Award, the NAACP Theatre Award, the key to the city
of his hometown of Gary, Indiana, as well as an honorary Doctorate Degree from Columbia College Chicago.
He’s currently producing his one man show, The Eve of Jackie Wilson and a new music project as C.H.E.S.S. @
ChesterGregory chestergregory.com
MYLINDA HULL (Nancy) Encores!: The New Yorkers, Merrily We Roll Along, Girl Crazy, Face The Music.
Broadway: Skittles: The Broadway Musical, The Nance, Dirty Rotten Scoundrels, Sweet Charity, 42nd Street.
Off-Broadway: Road Show (Public); I Love You, You’re Perfect… Regional: The Connector (NYSAF), Dancing
At Lughnasa (Two River), Guys And Dolls (IRNE Award, North Shore). Television: Fosse/Verdon, The Blacklist,
Rise, Younger, Inside Amy Schumer, The Big C. Best of all: 2 daughters, 2 dogs, fantastic husband.
MICHAEL URIE (Harrison Floy) Theatre: Torch Song, Buyer & Cellar (Drama Desk, Clarence Derwent,
Lucille Lortel, LA Drama Critics Awards), The Government Inspector, Homos Or Everyone In America (Obie
Award), Shows For Days, The Cherry Orchard, How To Succeed In Business Without Really Trying, Angels In
America, The Temperamentals (Lortel, Drama Desk, Theatre World Awards). Film: He’s Way More Famous Than
You, Beverly Hills Chihuahua, The Hyperglot. TV: The Good Fight, Younger, Modern Family, The Good Wife, Ugly
Betty. Training: Juilliard.
BETSY WOLFE (Sara Longstreet/Mama) starred in the Tony nominated musical Waitress. Prior to that, she
played Cordelia, in the Broadway revival of Falsettos, which was filmed and currently plays on PBS. She is perhaps
best known for her critically acclaimed performance as Cathy in the Off-Broadway revival of The Last Five Years.
She made her Metropolitan Opera debut as Ida in Die Fledermaus, and reprised the role years later. Broadway
credits include Bullets Over Broadway, The Mystery of Edwin Drood, Everyday Rapture, and 110 in the Shade. Other
credits include the City Center Encores! production of Merrily We Roll Along, the La Jolla Playhouse world premiere
production Up Here, ACT’s world premiere of Tales of the City. She has been a guest artist for over 50 symphony,
pops, and philharmonic orchestras across the U.S. and internationally, including the New York Philharmonic and
Chicago Symphony Orchestra. She has collaborated with The New York Pops and played to sold-out crowds at
Carnegie Hall and the Kennedy Center. She holds a BFA in musical theatre from the Cincinnati Conservatory
of Music. She co-founded a training program for aspiring actors and educators who wish to continue their
theatre education and more info can be found on www.broadwayevolved.com. In her free time she has been
touring her one woman show All Bets Are Off which has now played to sold out crowds in San Francisco, New
York, and Las Vegas. www.betsywolfe.com CITY CENTER EDUCATION | CONTEXT | 5
AN
INTERVIEW
WITH
ALLEN
MOYER
High Button Shoes marks
Scenic Designer Allen Moyer’s
9th Encores! production. Sarah
Kutnowsky, Education Manager,
spoke with Mr. Moyer about
the uniqueness of Encores! and
preparing for this production.
CITY CENTER EDUCATION | CONTEXT | 6
Sarah Kutnowsky: How did you come to SK: What is unique about designing a I often come back to the production I
be a scenic designer? set for an Encores! production? did of The Mother of Us All at New York
Allen Moyer: I started out years ago AM: When people ask me what it’s like City Opera. That was one of my favor-
when I went to undergraduate school designing for Encores!, I say that it’s ite shows ever. I also have to say Grey
for biochemistry. I then changed majors almost like a totally idealized summer Gardens, which started at Playwrights
after my first year and started study- stock situation. Everyone working on the Horizons and then moved to Broadway.
ing dramatic literature. I decided that I piece is at the top of their form. You’ve When I’m doing a show that has a long
wanted to get into theater somehow. I got stage hands that have been doing run, I’ll often go back and see it because
had done some acting in high school and this for 35-40 years and are top-notch it’s your duty to keep an eye on it and
early in college, but I knew I didn’t want at what they do. They bring a certain lev- make sure it’s doing good, and you don’t
to do that. I decided to be a designer, el of knowledge, skill, and craftsmanship necessarily do that with a kind of joy. But
because I had always drawn, painted, and to it. I went to see Grey Gardens a lot. I might
made things. Also, Encores! is so much about the have seen it once a week. Those are my
practicality. There’s the practicality of two favorite things I’ve done as far as
SK: What is your process when design- the schedule, the orchestra on stage, full-out productions.
ing a set? What kind of research do you and everything being built onstage or in
do to prepare? the building’s basement. It’s all done by a SK: What advice do you have for an as-
small crew and in limited time. I believe piring scenic designer?
AM: The Encores! process is unusual, in AM: I think it’s important to really open
that it’s so fast. Also, you’re not really it’s a process that takes a seasoned de-
signer to be able to do successfully. It’s yourself up to a lot of different things
starting from scratch, so to speak. Cer- and not clench down right away onto
tainly, when I sit down with directors for so much about problem solving. It’s re-
ally quite a challenge. I do enjoy the sort one thing you want to do, because you
an Encores! show we have a lot of dis- might want to do something else. Any
cussions about what the piece is about of puzzle of it all.
artist can benefit immensely from expo-
and what we want to feature in it, but sure to all sorts of things, but especial-
sometimes the design is already deter- SK: What drew you to design High But-
ton Shoes? ly other disciplines. I think some of the
mined for you by the piece, because it best set, costume, and lighting designers
is so explicit. It’s different than if you’re AM: I’ve always been interested in High
Button Shoes because I studied with the are the people that have already been
doing Hamlet, where you can very easily on stage in their life. Some of the best
explore different time periods or differ- set designer Oliver Smith, who did the
very famous designs for the original pro- directors are the ones who have experi-
ent locations. But in High Button Shoes, ence working backstage. I think that the
they talk about how it’s New Brunswick, duction. I’ll always remember early on
at NYU, seeing his beautiful, original best theatre artists are people who have
New Jersey and how it’s near Rutgers. been exposed to different disciplines and
They also talk about the brand-new car sketch for the seaside numbers. I’ve al-
ways loved the sketches and have always to all different fields.
at that time, The Model “T”, so you know
what time period you’re in and where been interested in the show just because
you are. I loved Oliver’s designs. In a way my in-
terest in this is a little bit personal in that
When you’re doing an Encores! show I feel like I’m honoring Oliver and am
there’s also the other element of the his- remembering him a lot these days. That
tory of when the piece was done and how part is kind of unexpected and nice.
it was done. High Button Shoes is very
much tied to the original production, SK: You’ve designed sets for countless
partly because of the commitment and productions throughout your career.
obligation to the original choreography. Are there any productions that stand
There are certain things you must do. In out as highlights?
High Button Shoes, we know that there’s
a “Bathing Beauty Ballet” and the num- AM: I’ve held a lot of them dear to my
ber “On a Sunday by the Sea”. There heart. In terms of Encores! productions,
are certain things that the staging calls I was mad for The New Yorkers and I’m so
for, like seven practical cabana doors. It happy that there will be a cast record-
all becomes about giving the show the ing. I loved every minute of watching it.
things that it requires. Grand Hotel was also remarkable.
CITY CENTER EDUCATION | CONTEXT | 7
FROM
HOLLYWOOD
TO BROADWAY:
STYNE & CAHN’S
HIGH
BUTTON
SHOES
by Rob Berman
The final Encores! installment in City Center’s 75th
Anniversary Season celebrates City Center’s historic
relationship with choreographer Jerome Robbins—as
well as the Jerome Robbins Centennial—and pays
homage to the brilliance of hit-making duo Jule Styne
and Sammy Cahn.
CITY CENTER EDUCATION | RESOURCES & ACTIVITIES | 8
It was surprising to learn that the legendary Sammy Cahn (1913-1993) was just such a writ-
composer Jule Styne (1905-1994) was already er. Born and raised in New York, Cahn arrived
41 years old when his first Broadway show in Hollywood in 1940 with his first writing
opened in October 1947: the rollicking musical partner Saul Chaplin. The producer Al Cohn
comedy High Button Shoes. For comparison, brought Styne and Cahn together and in 1943
Richard Rodgers and Cole Porter were in their they signed a deal with Columbia Pictures. This
early 20s when they wrote their first Broadway was the start of a hugely successful partnership;
musicals and Stephen Sondheim was 27 when they turned out hit after hit in the 1940s. The
he provided lyrics to West Side Story. first song they wrote together was “I’ve Heard
That Song Before” and after that they wrote
So what took so long? Styne was born in London many popular standards including “It’s Been A
but grew up in Chicago in the 1920’s, the real- Long, Long Time”, “It’s Magic”, “Let It Snow”,
life “All That Jazz” world depicted in the musi- “Time After Time”, and “The Things We Did Last
cal Chicago. A classical piano prodigy, he began Summer.”
playing jazz with dance bands and in burlesque
halls, experiences that would come in handy Both men had colorful show business person-
years later when writing shows like Gypsy. At alities. The energetic Styne had been described
age 29 he moved briefly to New York but was as a “mad, buzzing bee” and was a compulsive
then lured to Hollywood where he worked as a gambler. For many years, Cahn enjoyed the
vocal coach at 20th Century Fox, working with swinging Hollywood bachelor’s life and both
Shirley Temple and many other performers. Styne and Cahn became part of Frank Sinatra’s
circle of friends and collaborators.
It was in Hollywood that he began writing songs
of his own, at first out of necessity. In those High Button Shoes was not the team’s first
early days of the exploding film industry, vast attempt at a Broadway musical. In 1944 they
amounts of musical material were needed, and teamed up with director Busby Berkeley (decid-
needed quickly. Early on he was paired with edly out of his element) on a show called Glad To
Frank Loesser and together they wrote a few See You. The plot involved a USO show touring
hits including “I Don’t Want To Walk Without the South Pacific and it starred the nightclub
You, Baby.” Loesser taught Styne the fine art of performer Eddie Davis. It had two disastrous
marrying music with lyrics, advising him, “Don’t out of town engagements in Philadelphia and
ever write with smart-ass rhymers. Write with Boston and was never seen in New York. Things
people who have something to say with their were so dire that in Philadelphia when Davis got
words.” sick, Sammy Cahn himself went on in the lead
role for several performances. Styne found the
whole experience humiliating.
CITY CENTER EDUCATION | RESOURCES & ACTIVITIES | 9
Both men returned to Hollywood, where Styne life-long friend of Sammy Cahn. Silvers played the
was encouraged not to give up on the theater by role of Harrison Floy, a conman who tries to fleece
none other than the old master Jerome Kern. So an innocent family in New Jersey. His presence in
Styne found a new property to adapt: the 1947 the show insured a high level of madcap comedy.
semi-autobiographical novel The Sisters Liked Them For the role of Mama, Nanette Fabray was brought
Handsome by Stephen Longstreet. Cahn agreed in to replace the originally announced Vivienne
to give the stage another try and Longstreet was Segal. It was a star-making turn for Fabray, who
enlisted to write the adaptation himself. sang one of the biggest hits from the show, “Papa
Won’t You Dance With Me.” The reviews were
So Styne and Cahn, two Hollywood giants but strong and the show ran for 727 performances—a
Broadway novices, were joined by two theater significant hit for the Broadway first-timers.
legends, choreographer Jerome Robbins and
the director George Abbott (who also took over So Styne finally made it to Broadway by way of
bookwriting duties). Styne recalled being rather London, Chicago, New York (the first time), and
Hollywood. And once he got there, he
never left. Upon the opening of High
Button Shoes, Robbins commented,
“Jule’s been bitten, God help him.”
He had a towering career on the Great
White Way, writing at least 20 more
Broadway shows. Styne’s second show
on Broadway was Gentlemen Prefer
Blondes, another major hit and one
which Encores! presented in 2012.
Cahn, on the other hand would not
have further success on Broadway. He
wrote lyrics for three more Broadway
shows: Skyscraper, Walking Happy and
he reunited with Styne for the 1970
show Look to the Lilies, which ran for
High Button Shoes on Broadway (1947-1949); Courtesy of Photofest
just 25 performances.
intimidated by both Robbins and Abbott. Robbins,
then just 28 years old, conceived the entire Mack By the 1950s Styne and Cahn had mostly gone
Sennett-style ballet, “Sunday By The Sea.” To their separate ways. Cahn started writing with
help celebrate the Jerome Robbins Centennial, Jimmy van Heusen and continued his major
the Encores! production has recreated Robbins’ Hollywood career as well as his ongoing collab-
ingenious choreography for that piece, as well as oration with Sinatra. He was nominated for 31
for the duet “I Still Get Jealous.” Academy Awards and one of his four Oscar wins
was with Styne for the 1954 song “Three Coins in
The cast was led by comic Phil Silvers, who was a the Fountain.”
CITY CENTER EDUCATION | RESOURCES & ACTIVITIES | 10The score for High Button Shoes may
not have any major enduring hit songs,
but it has all the hallmarks of what made
Jule Styne and Sammy Cahn two of the
most successful songwriters of the 20th
Century: charm, wit, great melodies,
honest sentiment, and showbiz flair. It was
an impressive Broadway debut indeed.
Rob Berman is in his twelfth season as music
director of Encores!
Check out NYCityCenter.org/Blog
for an exclusive interview with
original High Button Shoes cast
member, Helen Gallagher.
CITY CENTER EDUCATION | RESOURCES & ACTIVITIES | 11RESOURCES & ACTIVITIES
CIT Y CENTER MAD LIBS
My Premiere at New York City Center
Today was the premiere of my ____________ show at New York
(adjective)
City Center! It starred _______ ________________ and the ____________,
(number) (plural noun) (adjective)
________________ _____________________. The show began with the
(verb ending in -ing) (name)
main character dancing a _____________ solo about losing his/her
(speed)
_________________. Then a chorus of _______________ appeared and
(object) (plural animal)
sang a _____________ song, where it was discovered that the main
(music style)
character must ____________ his/her _______________ to find the
(verb) (favorite food)
_________________. In the second act, the main character decides to
(same object)
face his/her fears in search of his/her _________________. Eventually
(same object)
it is discovered that one of the animals in the chorus _______________
(past tense verb)
the _________________, leading to a climatic dance battle inspired by
(same object)
the musical, _____________________________. At the curtain call, the
(name of musical)
audience applauded ____________! One critic commented, “This
(adverb)
show is better than _________________ with _________________.”
(noun) (plural noun)
CITY CENTER EDUCATION | RESOURCES & ACTIVITIES | 13BEFORE THE SHOW
High Button Shoes follows con man Harrison Floy, whose schemes have him on the run.
In this activity, students will explore how to creatively market a contemporary product
with a hidden flaw.
OBJECTIVES
• Students will analyze the lyrics from “There’s Nothing like a Model T” and make inferences about High Button Shoes
• Students will collaborate as a group to reimagine High Button Shoes lyrics for a modern product
BLUEPRINT BENCHMARKS FOR TEACHING AND LEARNING IN THEATER, GRADES PREK-12
Students will be able to respond imaginatively and expressively to imaginary and scripted circumstances in improvisations, scene work, and performances.
WARM UP Ask students to think of two truths and one lie about themselves. Ask for a few volunteers to share those statements with the
class. The class should then guess which statements are true and which is the lie. Then, reflect as a group. How did they “sell” their lie? What
made it convincing? How easy/hard was it to spot the lies?
REVIEW Share the lyrics of “There’s Nothing Like a Model T” (below) with the students. Ask students to pay close attention to what Floy is
saying to sell the car. Does it sound like there could be something wrong with the car? What are some of the strategies he uses to sell the car?
THERE’S NOTHING LIKE A MODEL “T”
GET IN ONE AND YOU’LL AGREE
THERE’S NOT A CAR THAT CAN TOUCH IT FOR COMFORT AND STYLE
GO FOR A RIDE AND YOU’LL FIND IT BEATS WALKING A MILE
CLINK! CLANK!
IF IT WON’T CRANK, GIVE IT A SPANK
THERE’S NOTHING LIKE A MODEL “T”
REWRITE Break the students into small groups. Explain that in 1908, when the Model T was first introduced, it was revolutionary. Due to
the advancements in factory assembly lines, Ford was able to offer the first car that was affordable for the average family. Because of this,
it was incredibly popular. Ask groups to come up with a similarly popular contemporary product that they’d like to sell off. This product was
previously owned, so it’s not in perfect condition. Announce that the groups will now create their own versions of “There’s Nothing Like a
Model T”, marketing their own “used” products while hiding their imperfections. Encourage students to look at the strategies that Floy uses
as he deceives his audience in “Model T.” In their groups, students should rewrite a verse of “Model T” to promote their chosen product using
the text below. Share out groups’ revised lyrics.
THERE’S NOTHING LIKE __________________________________________________, __________________________________________________ AND YOU’LL AGREE
Product A way to use the product (verb)
THERE’S NOT A __________________________________________________ THAT CAN TOUCH IT FOR __________________________________________________
Similar product/brand Product’s best qualities
__________________________________________________ AND YOU’LL FIND IT BEATS __________________________________________________
Another way to use the product (verb) How you would act without the product (verb)
__________________________________________________! __________________________________________________!
Sound the product makes Another sound the product makes
IF IT WON’T __________________________________________________ GIVE IT A __________________________________________________
How product might not work (verb) How to fix the product (verb)
THERE’S NOTHING LIKE __________________________________________________
Product
REFLECT Ask students to consider and respond to the following questions:
• How did you choose to market your product despite its flaw?
• What kind of language did you use to make it sound appealing?
CITY CENTER EDUCATION | RESOURCES & ACTIVITIES | 14AFTER THE SHOW
In this activity, students will utilize lyric and dance elements as they attempt to create a
misleading advertisement for a product.
OBJECTIVES
• Students will create advertisements that deceptively market flawed products
BLUEPRINT BENCHMARKS FOR TEACHING AND LEARNING IN THEATER, GRADES PREK-12
Students will be able to contribute positively and responsibly to the ensemble through collaboration, sustained focus and concentration.
MARKETING MEETING Share that marketers sometimes try to sell ineffective products but advertise them in a way that makes them
sound like a necessity. However, they have to be careful not to commit “false advertising” or “fraud.” The Fyre Festival, a recent music festi-
val, is a good example of false advertising. Ask students to quickly share their observations about video advertisements they see online. What
makes an ad convincing to them? Then ask students to brainstorm some ways that one could successfully advertise a flawed product. How
could one market a flawed product without outright lying about the flaw? Give an example of the Model T that won’t start from HBS. Jot
down observations on the whiteboard or large poster sheets.
ADVERTISE Share with students that their groups will be creating 30-second “video advertisements” marketing specific products. Groups
will choose their product out of a hat. The list can include:
A basketball without enough air to bounce
A microphone that always squeaks
A spray paint can that will explode when used
Air Jordans with no soles
An old cell phone without internet
Unfashionable clothing
Undercooked chicken
Encourage students to get creative with their advertisements and incorporate elements of spoken word, music, and dance. Visit the groups
and provide support. Share the advertisements when they are ready.
REFLECT Present students with the following questions after the advertisements have been shared:
• How were the products flawed? Was the con easy to spot?
• How did the groups attempt to advertise the product without bringing attention to its flaws?
• Are there any real-life “Floys” in the world today? What kind of characteristics do they share with the character?
CITY CENTER EDUCATION | RESOURCES & ACTIVITIES | 15GLOSSARY
Alma Mater:
The anthem of a school, college, or university
The Rutgers football team sings the school’s Alma Mater at Floy’s request.
Anecdote:
A short amusing story about an incident or person
Pontdue begins to tell an anecdote about playing poker with J.P Morgan until he is interrupted by Floy.
Chassis:
The structural frame of a motor vehicle
Floy mentions that “no other chassis is half as classy” when describing the Model T.
Fisticuffs:
To fight with the fists
After getting into a fight with Oggle, Floy says that he does not condone the “art of fisticuffs”.
Klaxon:
An electric horn or a similar loud warning device
Floy says that the Model T has a klaxon that makes a beautiful sound.
Model T:
An automobile produced by Ford Motor Company from October 1, 1908, to May 26, 1927.
It is generally regarded as the first affordable automobile
Floy tells the people of New Brunswick that the Model T is a “car that’s fast become a real sensation.”
Pension:
Money that is saved for retirement
Floy tells the Police that arresting him will cost them their pensions.
CITY CENTER EDUCATION | RESOURCES & ACTIVITIES | 16UP NEXT FOR
CITY CENTER EDUCATION!
FRONT & CENTER WITH LEA SALONGA
Monday, May 6th, 2019 6:30pm
Lea Salonga’s (Miss Saigon, Once on this Island) master class, Finding a Way
In, helps students get to the heart of their performance. Focusing on song
interpretation, Ms. Salonga’s approach zeros in on the acting behind the sing-
ing and the story behind the lyric.
ADMINISTRATIVE APPRENTICESHIPS
Applications open in May
New York City Center is committed to training the next generation of cre-
ative, passionate arts professionals and to building pathways to careers in the
arts for candidates from underrepresented communities. Each year, we offer
an Administrative Apprenticeship Program for early-career individuals to ap-
prentice in our Education, Development, Marketing, and Programming de-
partments. Through this program, apprentices will participate in a paid train-
ing, work directly with a mentor in their area of focus, attend weekly seminars
with City Center staff and artists, and receive professional development
workshops. All apprentices are paid $15 an hour.
2019-2020 IN-SCHOOL PROGRAMMING APPLICATION
Our programs are designed to bring our mainstage performances to students
all over New York City. We offer three basic options for participation, ranging
from $2 tickets, to workshops, to multi-week residencies in schools.
Interested in bringing City Center to your school next year? Applications for
2019-2020 programming in Musical Theater and Dance will be available in
early June. The application is the first step in registering for our programs, and
schools interested in needs-based funding must complete the application to
be considered.
For more information on any of these programs,
please go to www.NYCityCenter.org/Education
CITY CENTER EDUCATION | RESOURCES & ACTIVITIES | 17NEW YORK CITY CENTER
EDUCATION
VISION STATEMENT
Th e m is s ion o f New Yor k Ci ty Center Ed u cati on i s to
ig n i t e a n a ppre c ia t io n of the p erformi ng arts, cu l ti vate
t h e c rea t iv e mind, a nd create a cu l tu re of i nq u i r y and
e x p l o ra t ion. Commit t ed t o d rawi ng i nsp i rati on from works
o n t h e ma inst a ge, Ne w York Ci ty Center Ed u cati on stri ves
t o p ro v ide inno v a t iv e, a c cessi b l e arts ed u cati on to school s
a nd c o mmunit ie s across New York Ci ty.
ABOUT NEW YORK CITY CENTER EDUCATION
Each year City Center reaches over 9,000 students from NYC public and private schools,
kindergarten to grade 12, through dance and musical theater performances and in-school
workshops. In-depth residencies engage young people in building technical and expressive skills,
personal voice, and collaborative spirit. Innovative workshops are crafted for families, seniors, and
other special groups that express an interest in collaborating with City Center.
Through the Introduction to Performing Arts program, students have the opportunity to view
live performing arts at City Center. At the Workshop level, students receive two in-school
workshops in addition to attending a live performance. Residencies provide in-depth multi-
week study around one of the productions presented during the season. During the 2018-2019
Season, City Center Education offers students the opportunity to study dance and musical
theater productions from City Center’s mainstage.
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